The polished pianism and serious musicianship characterizing David Jalbert’s recording of the Shostakovich Preludes & Fugues are also apparent throughout his performance of Bach’s Goldberg Variations. Observing all repeats save for those in the Aria da capo, Jalbert generally favors brisk yet not overly fast tempos, and well differentiated articulation that is never exaggerated (no smoldering legatos, no pinprick stacattos). Jalbert almost always embellishes the repeats, sometimes to the point of changing melody notes, but without the sense of fun that I perceive more readily from big time Goldberg ornament guys such as pianist David Korevaar and harpsichordist Igor Kipnis.
While tempo relationships between variations do not correspond arithmetically in the manner of, say, Glenn Gould’s 1981 Sony version, Jalbert nevertheless effects fluid and assiduous transitions. Granted, he doesn’t match Perahia’s remarkable textual transparency, finely tuned polyphonic interplay, and cumulative momentum, yet there’s much to admire in the singing directness that Jalbert brings to the minor-key variations, not to mention his unflagging rhythmic solidity in movements involving crossed hands in lieu of the harpsichord’s double keyboard. What is more, Jalbert’s subtle shifts in voicing and dynamics do not draw attention to themselves, and wear well over the course of repeated hearings.
If Jalbert’s interpretation does not project that extra spark of individuality distinguishing our reference versions, his achievement still ranks far and beyond many of his better known digital-era piano Goldberg competitors. Atma provides marvelous, naturally resonant, and tonally alluring sonics.
